Jay Harvey Upstage

As with many  who exile themselves with distinction from a provincial upbringing, the curiosity that fed Janet Flanner's writing career was nurtured in the world she left behind. Before she was dubbed "Gen ê t" by New Yorker magazine founder-editor Harold Ross, she carried the prestige of a well-established Indianapolis family, a talented daughter who got a brief start in journalism here as movie critic for the News. She came out as a lesbian after a likewise brief marriage, then settled in the French capital, where her "Letter from Paris" was a regular feature in the well-written and -edited, and eventually well-heeled, magazine. "They Call Me  Gen ê t ," D. Paul Thomas' lively, variegated interpretation of the New Yorker' s European correspondent for a half-century,  takes Janet Flanner off the glossy page as so much more than a prestigious byline. As an extended "au revoir" to Paris set in 1975, it brings the thorough, exacting rep...

 "We Walk Beneath a Patient Sky," the substantial new work opening Dance Kaleidoscope' s final program of the current season, shows the result of a rare collaboration between a choreographer and a composer both active here. Jordan Munson blends his affinities for electronic music and the Appalachian musical tradition in the new work, against which Joshua Blake Carter has set his arresting choreography. He's tamed his characteristic abruptness of movement to focus on how a community establishes ritual and secures a common acknowledgment of meaning and values. Seen Saturday night at the Toby, the four-part work embraces a fresh vision of the hero's journey theme, but applied collectively more than individually. Robed, hooded, backs to the audience and unindividualized at first, the company of a dozen dancers comes to grips with the forces they must contend with, reaching up, arms sometimes hooping the air above them, also thrusting downward at an angle with motion...

Trumpet Mafia in full cry, with leader Ashlin Parker second from left. An open weekend date on the Jazz Kitchen schedule is not easy to find, especially on short notice, so John Raymond was grateful to have nailed one Friday night while Trumpet Mafia, an ensemble from New Orleans, was nearby and open to a further opportunity for its high-powered blare. Raymond, professor of jazz trumpet  on the faculty of Indiana University's Jacobs School of Music, spoke proudly of his impresario role in securing the gig, in which the mafiosi included some of his students plus young Indianapolis trumpeters of professional stature Sam Butler and Kent Hickey, plus a well-established jazz educator and trumpet guru, Scott Belck of Cincinnati.  Anchoring the front line were New Orleans trumpeters Ashlin Parker and Bijon Watson. All told, there were 11 trumpeters ranked along the front of the Jazz Kitchen bandstand. It became a decent dozen at the end, when Indianapolis native Pharez Whitted was in...

As soon as the five men of Profeti della Quinta raised their voices, something extraordinary filled the air at the Indiana History Center  Sunday afernoon as the Indianapolis Early Music Festival presented its last June concert in its 60th anniversary season.  The singers of Profeti, with theorbo player Ori Harmelin (holding instrument) The immediate blend of  two countertenors, two tenors, and one bass as "From the Synagogue  to the Palace" began, made clear the point of bringing to wider recognition the achievement of Salomone Rossi (1570-1630?) as a Jewish musician enjoying special privileges while affirming his identity in a diaspora minority group constrained by law and custom.  Formed in Israel and now resident in Switzerland, Profeti della Quinta (Prophets of the Perfect Fifth) presented a program that made a rare point: despite the  reduced status of Jews in Italy 400 years ago, Rossi was honored in both Mantuan communities, repeatedly crossing th...

Thumb's up from pianist-composer Ozone Highly anticipated reacquaintance with a guest soloist rarely presents itself to me in an Indianapolis Symphony Orchestra season. Looking forward to Makoto Ozone as this weekend's piano soloist resembled slightly a reunion with a school sort-of-friend you didn't know well but have some pleasant memories of. So, Ozone wasn't exactly an old jazz chum of mine. When he was active in this country, I never heard him live, but I have two of his recordings: an LP from 1986 titled "After," when he was in his mid-20s and just past his American education in jazz at Berklee in Boston, and "Pandora," a 2000 CD when his American career blossomed as he headed a classy trio with eminent young sidemen, bassist James Genus and drummer Clarence Penn. Listening to them again a couple of days ago, I was struck by the access of maturity and individual style in records issued 14 years apart. But the spread of his talents and artisti...

No matter to what degree you take J.S. Bach's settings of the gospel accounts of Jesus' suffering and death (the Passions) as confirmations of faith, esthetically they are shrewdly constructed to unify the narrative and spiritual centrality of the narrative and its durable meaning. The dogma of resurrection is strongly implied, of course, but the journey through the betrayal and capture of the figure Christians assert was God's anointed both raises and settles questions about the significance of his sacrifice for humankind. Straightforward leadership from McGegan Human promises of undying loyalty to the Savior are undercut by Jesus' isolation in the  Garden of Gethsemane, as the disciples fall asleep after declaring their intention to stay watchful. In a new recording conducted by Nicholas McGegan featuring Cantata Collective (issued in April on Avie Records ) , among the excellent features is the singing of bass-baritone Paul Max Tipton as Jesus. At the point just al...